Sarah's intention is to capture a feeling, or a spiritual state of being. Sarah often works without a brush, pouring water onto paper and directing the paint with the movement of her body - in what she calls 'a kind of dance' - in order to capture her own emotional rhythm.

This was an approach that she developed along the journey that she also developed into a book: A love letter to Myself… This process has to do with water as emotion, water as our own substance (we are 70% water) and therefore water as a means of connection with ourselves and our own feelings. It also marked the beginning of a new creative ethos for Sarah – one where “play” and process became of primary importance… One where, as she writes in the book, her art embodied the way that she would like to live.

Increasingly, however, Sarah is returning to concrete mark-making – exploring ways of blending the concretely physical, structured and real with the abstract, playful and free. This reflects her interest - inspired in part by Cy Twombly's work - with the tension between precision and intention on the one hand, and the free flow of paint, movement and abstraction on the other. The human experience is, for Sarah, a constant flux between the abstract and the concrete and between what “is” and what could be.

Sarah's work has been heavily influenced, at various points to different degrees, by the Abstract-Expressionists, the post-Expressionists and by the Chinese Scholar-painters of the 10th-13th centuries. The Scholar-painters' works were deemed heart prints of the artists themselves and their brush strokes aimed to capture the rhythm of nature - of Chi - itself. In her own work, Sarah brings together these various philosophies - "East" and "West”.

Sarah trained at the Motley School of Theatre Design and at Hertfordshire University, having read Social Anthropology at Cambridge University. She is based in London.

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